Three Modes of Creativity (original) (raw)
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Understanding creativity and the role of technology in education: a tri-modal approach
Proceedings of Society for Information Technology & Teacher Education International Conference, 2018
Creativity is widely viewed as pivotal to 21 st Century education, and thus is frequently connected with technology. However, creativity continues to be ill defined, difficult to recognise and even harder to systematically develop in students and in teachers. This paper arises from an ontological analysis of creativity in the literature, and, as a consequence, proposes a new way of understanding creativity, with an eye toward technology in education settings. The authors propose that creativity has three modes of operation and emergence: the Visceral (embodiments), the Ideational (mind and conceptual) and the Observational (critical, economic and social). Creativity literature has defined creativity more statically as either an individual cognitive outcome or as a product of social and institutional systems. This paper presents creativity more dynamically and cohesively as representing individual creative experience and output, in embodied ways with technology in education, as well as recognising what externally shapes, enhances and constrains creative experience and productivity systemically. Technology is at the core of the operation of these three modes. The paper also focuses on issues of power, control and discourse about what is deemed to be creative, and considers creative gatekeeping practices in educational settings, the rhetoric around the term, and issues of access to technologies that afford creativity. In sum, our tri-modal model of creativity offers a cross-disciplinary framework, one with relevance for and practical application to educational, technological and policy contexts. We share a practice example from literacy education, and its integration with technology, to illustrate the operation of the model.
Technology and creativity in the 21st century : a philosophical narrative of an arts educator
This thesis is an exploration of the relationships that potentially exist between technology and creativity with the purpose of addressing one of the greatest conundrums in the classroom, namely, the nurture, assessment, and evaluation of creativity in a technologically rich environment. Addressing those relationships is believed to be the first step toward solving problems inherent of pedagogy, but must be preceded by a shared (i.e., general) understanding of both phenomena. It is believed, however, that the development of an understanding is constrained by the theoretical gap that exists between viewing the general natures of those phenomena. Existing studies on technology and creativity, both quantitative and qualitative, have resulted in an increase in knowledge that is principally ‘particular’ and brimming with variables. The abundance of particular knowledge, however, conceals the possibility of a ‘general’ theory that may reveal the essential characters of either phenomenon. Touching on historical research and problems inherent of pedagogical means that focus on technology or creativity, the writer attempts to demonstrate the need for a theoretical understanding. Moreover, a personal narrative is interwoven to reveal several troublesome dialogues (i.e., constructivism and postmodernism) that impede further research in creativity and technology. McLuhan’s inherent notions of medium and message offer a new lens from which to view media generally and, as such, may serve to address the classic paradoxes of dualities: mind/body, concrete/abstract, percept/concept, theory/praxis, and figure/ground. Additionally the significance of the work undertaken by L.S. Vygotsky and his student, A.R. Luria on language and cognition is reviewed. From that perspective, a metaphorical comparison is made to technology and creativity, respectively. The core relationship between technology and creativity is philosophically interpreted, if not the same as, similar to the relationships arising from such paradoxes as medium/message and art/science.
Creativity: an ontological analysis
This draft paper is an ontological investigation of the term 'creativity' and its meaning from a philosophical and critical perspective. The paper explores also the implications of the term for learning and education. The paper suggests that creativity has three modes of existence in the world: the visceral (embodiments), the ideational (mind and conceptual) and the observational (critical and social). The term is also understood as one about power and control over what is deemed to be creative.
Sarah Kember and Joanna Zylinska conclude their the introduction to Culture Machine’s volume 11 on the topic of ‘Creative Media’, with ‘an open invitation and an injunction - to keep inventing well, that is to say, creatively and critically, forms ever new’ (2010: 5). In this project, which finds a more thorough articulation in their subsequent book, Life after New Media (2012), the authors challenge us to think creativity not through its present-day attachment to the agenda of post-industrial capitalism, but rather through the ‘processes of mediation’ of ‘our being and becoming with the technological world’, that is, through ‘the acts and processes of temporarily stabilizing the world into media, agents, relations, and networks’ (2012: xv). But what is at stake when we are invited to invent well in this way and what might it mean in practice? While the project of Creative Media problematizes clear distinctions between ontology and epistemology, politics and ethics, my intention here is to deepen the project’s critical and analytical rubric by focusing on matters of ontology and, on this basis, explore the politics of ‘inventing well’.
The context for this paper is the contemporary creative industries and their redefinition linked to parallel efforts to rethink and reshape creativity. It has three broad, interconnecting aims, to: 1) demonstrate the continuing relevance of early educationists to this debate, their democratising, pragmatic approaches (Dewey), and advocacy of convivial tools and processes (Illich); 2) indicate implications and opportunities for education, particularly at university level; and 3) elevate an expanded definition of design that is at once a process of modern thought, an engagement mechanism and a problem solving procedure, as well as the link between creativity and innovation. In so doing it seeks to offer a philosophical entre’ for educationists hitherto alienated by controversy surrounding the creative industries, plus creative tools to address today’s complex issues. By reshaping creativity, drawing together ideas and resources from disparate sources, it also attempts to advance a question for future researchers and applied research.
THE PHILOSOPHY OF CREATIVITY, 2014
reativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research.
We start with a critical examination of the traditional view of creativity in which the creator is the major player. We analyze many different examples to point out that the origin of all different creativity scenarios is rooted in the viewer-artifact interaction. To recognize this explicitly, we propose an alternative formulation of creativity by putting the viewer in the driver’s seat. We examine some implications of this formulation, espe- cially for the role of computers in creativity, and argue that it captures the essence of creativity more accu- rately.
Since creativity and technology are considered as the cores of development and innovation in our age. Therefor it is important to have a better understands of the role and impacts of digital technologies on human’s creativity and its end product. In order to do so, I tried to answer the following questions; A) Do technology really expands, aids, and creates creativity? B) Do they both have contradicting conceptions? In short, I am trying to examine the impact of the usage of digital technologies on the creativity of humans in design. In trying to do so, I have implemented a qualitative method based mainly on logical interpretation and review of literature. As a conclusion, I found that creativity in the first place relays on the creative person, not on the technology. And that technology may help only in expressing creativity, but not creating it. Also there are conceptual contradictions between them. Finally, I can say that: considering technological thought as the primer thought mode of our age as peters argued (Peters, 2000) is crucial enough to threat peoples’ creativity.
Creativity as a complex form of creation and thinking
New Trends and Issues Proceedings on Humanities and Social Sciences, 2021
Creativity as a complex form of creation and thinking Goranka Stanic*, School of Applied Arts and Design, Osijek, Croatia Suggested Citation: Stanic, G. (2021). Creativity as a complex form of creation and thinking. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 8(1), pp 76--80. Available from: www.prosoc.eu Received from December 18, 2020; revised from February 22, 2021; accepted from March 30, 2021. Selection and peer review under responsibility of Prof.Dr. Ayse Cakir Ilhan, Ankara University, Ankara, Turkey. ©2021 Birlesik Dunya Yenilik Arastirma ve Yayincilik Merkezi. All rights reserved. Abstract Creativity is the highest form of human creation, thought and action. We have known it since the earliest beginnings of human existence. Freed, stereotyped and elevated above the primitive level, the human mind encounters creativity. It encompasses intellectual thinking, problem solving and challenges, and with its homologous heritage, raises man as an individual and the entire civilisation to a level higher than the very beginnings. The aim of this research is to generate a design that can be followed for creativity. Information is needed for creativity. However, the classic form of information and creation has been replaced by computer technology. It is almost impossible to follow the course of development of the branch and the progress of all human activities. In a sea of new information and data, we are losing the thread and have to opt for a narrowly specialised area or areas that we monitor. A large selection of communications and ideas slowly leads us into chaos. As much as it seems to us that the channels of creativity and opportunities for innovation are enriched, we also encounter the problem of overload. Creativity in ‘design’ translates into creating software with many capabilities, and a true designer is a programmer who designs features and a program for a particular branch of design. The goal of design is not commercialism, but quality and progress, making life easier, instead of creating imaginary desires and needs for the offered product. Keywords: Design, creativity, computer design, functionality.